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photo by David Cooper
Karin has appeared in over fifty professional theatre productions. She has received numerous awards and nominations for lead roles in a wide range of musicals, contemporary dramas and premieres of new works.
Memorable roles in classic musicals include, among many others, “Joanne” in Company, the “Beggar Woman” in Sweeney Todd, “Adelaide” in Guys and Dolls, “Pirate Jenny” in The Threepenny Opera, “Woman One” in Jacques Brel is Alive and Well and Living in Paris, “Golde” in Fiddler on the Roof, “Dolly” in Hello, Dolly!, and “Anita” in West Side Story.
Roles in contemporary dramas include “Barbara” in August, Osage County, “Lilith” in K, “Roberta” in Danny and the Deep Blue Sea, “Doris” in The Stone Angel, “Marlene” in Bordertown Café, and more.
Karin has especially enjoyed being involved in the award-winning world premieres of Canadian works, including Aaron Bushkowsky’s Play With Monsters for the Solo Collective, James Long’s A View From Above for Ruby Slippers Theatre, Conrad Alexandrowicz’ Beggars Would Ride for Wild Excursions/PuSh Festival, Peter Hinton’s 120 Songs for the Marquis de Sade for Modern Baroque Opera, Bryden Macdonald’s Sincerely, A Friend (the songs of Leonard Cohen) for the Belfry Theatre, Camyar Chai’s Opiate Karim for NeWorld Theatre, and Dorothy Dittrich’s When We Were Singing for Touchstone Theatre.
She has designed choreography and sound for many more productions, both professionally and in a teaching capacity.
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Jacques Brel Is Alive and Well and Living in Paris, Arts Club Theatre, 2004 (photo by David Cooper)
“Konoval worked the story-telling dynamics of ‘My Death’ so thoroughly that I broke into a sweat… Konoval takes no prisoners” Georgia Straight
The Three Penny Opera – Pirate Jenny, Arts Club / Belfry Theatre, 1997 (photo by Bruce Stotesbury)
“…the action really sizzles when Konoval is onstage… the hair stands up on the back of your neck.” The Vancouver Courier
Sweeney Todd – The Beggar Woman, Arts Club Theatre, 1999 (photos by David Cooper)
“a masterful portrayal that would honour Brecht…” The West End Times
The View from Above – Marsha, Ruby Slippers Theatre, 2008 (photo by Tim Matheson)
“Konoval’s performance is revelatory – she’s crazed, absurdist and loveable as the one force frantically stitching an unravelled civilization” The Globe and Mail
Stage West Calgary, 2000
photo courtesy of Stage West Calgary
“a commanding stage presence… more than enough charm, energy, enthusiasm and wit to carry her and the cast through the show” The Calgary Sun
Playhouse Theatre, 2000
photo by David Cooper
“Miss Adelaide must nail her famous lament….and Karin Konoval does indeed make this song the highlight of the night” The Vancouver Sun
Playhouse Theatre, 2000
photo by David Cooper
“Karin Konoval….is so at home with this material that she could take out a lease. She just opens her mouth and a big, bold, beautiful sound blasts out, filling every corner of the theatre” Georgia Straight
Modern Baroque Opera, 2001
photo courtesy of Modern Baroque Opera
“Karin Konoval, playing the mother-in-law Montreuil…her sinister air of authority commands the spotlight whenever she appears” Georgia Straight
Rumble Theatre / PuSh Festival, 2004
“Best of all is the expression of Kafka’s tortured libido through Lilith…Karin Konoval starts out slinky and grows so dangerous that… Lilith is truly the Ur-whore” The Vancouver Sun
The Playhouse Theatre, 2005
photo by David Cooper
“Karin Konoval, who plays the count’s wife, in a wonderfully weary boil of bitterness” The Vancouver Sun
Wild Excursions / PuSh Festival, 2007
photo by Itai Erdal
“Konoval and Morgan are so lascivious you can smell them coming and going. Konoval sings ‘I Eat The Bones’ with the snarl and relish of a scrapyard dog. She’s as petulant and pouty as a spoiled child, hot and horny as a bitch in heat” The Courier
Wild Excursions / PuSh Festival, 2007
photo by Itai Erdal
“Konoval’s Ravinia is an explosion of carnival weirdness and threat” Georgia Straight
Ruby Slippers Theatre, 2008
photo by Tim Matheson
“Konoval is simply spell-binding in her grasp of the character’s insanity” Vancouver Sun
Arts Club Theatre, 2008
photo courtesy of Arts Club Theatre
“The award for fearlessness goes to Karin Konoval who tucks into the character of Joanne with abandon. Her rendition of ‘Ladies Who Lunch’ stands completely on its own” The WestEnder